Category: Reviews

The last time I wrote about WQNC – formerly Wo Qui Non Coin – the series of region designs I’ve been dropping into every so often since 2021, I’d no sooner published than the setting had poofed away into the ether. So, having caught a Christmas Day invitation from Maasya, the brains behind the various WQNC builds, to pay a visit to the latest WQNC build, I’m hoping to get this article out so that there is enough time to visit between me publishing and the setting vanishing! With each of his builds, Maasya presents some new and different in tone and theme for the last for people to explore, photograph and generally appreciate. With this design, he appears to have taken his inspiration from a combination of sources, notably the Mishima Taisha shrine (at least, going by his comments on the Twitter-circulated invitation to visit), and Japan’s rugged (and oft snowy at this time of year) uplands and mountains. The result is a setting with a genuine sense of coldness about its climate, together with a suggestion of mystery as it lies amidst tall trees and rocky outcrops.

The geographic sense of the location is that of a gathering of low islands set within a lake enclosed by tall peaks, isolating it somewhat from the world at large. Perhaps the islands had once been a single hump of rock rising from the lake, but over time – possibly aided by earthquakes – the water has split the mass with narrow channels to form a large island which cups its V-shaped form around two smaller, but equally predominantly flat-topped isles, the smaller of which remains physically connected to the largest by a heavy arch of stone the water has burrowed under. Massya appears to offer two landing points for the setting – one of which may have been left-over from a prior build (as none are strictly enforced), so I’m going to go with the one supplied in his invitation to visit. This delivers visitors towards the south-east corner of the region, and a point where steps descend into the waters – or would descend into them were it not for the fact the lake’s surface is frozen – as if providing a place to draw into with boats, reinforcing the sense that this is an island retreat.

Snow has partially obscured the broad paved walkway leading away from the landing point, but such is the width of the path that even without the huge Torri gate straddling it, it is hard to miss. Sweeping across the island’s arm, the path meets with an equally broad bridge spanning the narrow channel separating the main island from the larger of its two siblings. Beyond the bridge, which is supported by what are clearly man-made additions to the banks of the channel, the path marches onwards, its route marked by lanterns, banners and further huge Torii gate standing guard above a set of steps climbing over a low lip of rock. Prior to reaching the bridge, however, the path is joined by a smaller one as it emerges from a conga line of smaller Torri gates as they snake across the landscape, packed so closely together so as to almost for a tunnel under which the path runs. At their far end is the first of a number of smaller shrines awaiting discovery within the region. Its doors are closed, but they can be opened on touch to reveal an unexpected find inside, whilst the path continues onwards and to the left of the shrine, to march on to where a little sake stand affords those who need it with the opportunity to fortify their innards against the surrounding cold and warm their digital extremities in the heat being radiated by its bright stove.

Meanwhile, the main path crossing the landscape continues onwards from the second large Torri gate to reach a stone bridge and steps which respectively re-cross the channel separating the two larger islands and climb to the square of the temple / shrine proper. Three buildings occupy this space: a small, stove-warmed hut offering a place to sit out of the cold and similar in style to one sitting a little back from the main path as it makes its way to the square; a larger (and cosier) coffee house; and the main shrine itself. The latter is still a relative small building, but very well presented in terms of the lighting used (non PBR-enabled users should make sure Advanced Lighting Model is active via Preferences → Graphic in order to fully appreciate the lighting here), and impressive in what lies within to receive visitors (it’s not Buddha or anyone like that!).

Two further paths lead away from the shrine’s square. The first offers a direct path over that arch of stone to reach the smallest of the three islands, and the Samurai-guarded little shrine that sits at the end of it. The second path is bounded by dry stone walls and lit again by lanterns as it passes through the surrounding trees before taking a sharp turn to the right to follow the island’s shoreline to where paving once again passes under red-painted Torri gates before arriving at a veritable field of katana blades, their tips spiked into the ground and stone, seeming to block the way between wall and icy waters and stand between those who walk the path and the shrine lying at its end. Caught within a cold haze and snow falling from an overcast sky, the WQNC Shrine offers an engaging mix of ancient and modern, imbuing itself with a sense of both age and history. The dry stone walls suggest this is a place that has long be used down the years, even if the buildings found across the islands are not necessarily of a great age in themselves. Meanwhile, the stoves, seating and the like found within the various rest houses all point to very modern influences, whilst the main temple / shrine adds a futuristic twist to everything, thanks to the floating point-lights and the very sci-fi leaning cage lights and neon-edge lanterns, and the Omikuji racks present a nice traditional / seasonal touch given the time of year.

In other words, Massya again presents a place which makes for a worthwhile visit, but which is – again be warned – here for a limited period of time. So to avoid disappointment, best you visit sooner rather than later!

 SLurl Details

• WQNC Shrine (Bamboo Caye, rated Moderate)

At the start of 2023, I dropped into Aurelias, a Full region designed by Sparkle (Sparkely Sugar) – see A Winter’s Aurelias in Second Life. So with the end of the year now peeking over the horizon at us, I decided to hop back a short while ago and have another look and see what the end of the year has brought. Certainly, the updated description for the region piqued my curiosity nicely.

Welcome to Aurelias, a captivating town that echoes the spirit of Charles Dickens and transports you to a bygone era. As you stroll through our cobblestone streets, you’ll feel the enchantment inspired by classic fables and fairytales.

– Aurelias About Land description

Now, for those who might read that description and have images of scenes from A Christmas Carol or one of Dickens’ other (lesser known to many?) Christmas works such as The Cricket on the Hearth, The Battle of Life, The Haunted Man and/or the New Year leaning The Chimes; it might come as a disappointment or relief (depending on one’s perspective at this time of year) that this is not the case; the key within the description is spirit of Charles Dickens.

This can be taken to mean that within the region there are elements which might be seen as being inspired by the ideas of a Dickensian / Victorian era – and some which might possibly have certain echoes from some of Dickens’ stories – but there is not anything here that one can point to an definitively state it has been drawn from any particular story or novel.

For example: the cobbled streets of the little town square and its surrounds, lit as they are by what might be taken as gas lamps, might have something of a Dickensian air to them, but you’re not going to find a door with Scrooge and Marley above it; and while one of the business premises might well have a slightly Scroogian chap standing inside, would the focal character of A Christmas Carol (as seen at the start of the novella) allow a gramophone player in his place of business? Or a board game?

Instead, the region casts a wider net, presenting a location caught under a ghostly sky where many tales – folk and fairy, novel and short story – might be found to offer little touches and hints.

The little township sits on the raised north side of the region as a quiet gathering of mixed businesses, some of which appear perfectly natural – the tea-shop, the pubs and antiques shop – others of which hint at darker, more mysterious things. A large, well-appointed house sits to one side of the square proper, the delivery truck sitting outside it casting a more Georgian lean to the setting (along with the style of some of the other buildings). All are in turn watched over from the west and east by headlands which cup between them a small bay and upon which sit, respectively a gaunt house wrapped in mist and where strange robed figures look outward and a poem that is somewhat mindful of words by Oscar Wilde (within A Woman of No Importance) might be found; and on the other by a tall-roofed church presided over by a severe-looking minister and another large house  complete with paths and steps giving access to the coast below its gardens.

Snow hugs the shoulders of the gaunt house, and alongside it sits a skating rink. They form an odd couple; on the one hand they are drawn together in presenting the only indications that winter has reached this land; on the other, the gaiety of the rink contrasts strongly with the brooding presence of the house, pushing them apart.

To the south the land falls away to wetlands in might be found more mystery and sense of haunting or suchlike, together with a decrepit graveyard, potentially long abandoned given its general state. However, and despite it sitting within a swampy landscape, it can still (for those who think in that direction) perhaps conjure thoughts of young “Pip” Pirrip’s encounter with the criminal Magwitch at the start of Great Expectations, thus allowing the setting to carry another spiritual link to Dickens.

Also within the wetlands, shaded by tall trees, braziers burn, lights gleams from branches and mists float over the waters and old ruins and a cave await discovery – all of which makes for plenty of opportunity to dream up stories of ghosts and goblins or fae folk and elves or – given the presence of glowing cauldrons, a spell-bound house and the town’s magic shop – perhaps witches and wardrobes; just let your imagination range free.

Once again an engaging setting, one neatly linked to Sparkle’s Homestead region and store to the south.

SLurl Details

• Aurelias (rated Moderate)

Occupying a Full private region leveraging the land capacity bonus available to such regions, NANA Land is the work of Frie Frie (Freecheck) and Nika Snowpaw. The About Land description describes the region as a romantic setting offering the opportunity for meeting friends, exploring, dancing, photography and shopping; whilst this is largely accurate, it also understates all that NASA Land has to offer.

At ground level, where the landing point is to be found, sits a rugged island into which water has cut it way, either inland from the surrounding seas or outwards from the falls and streams which drop or flow from the highlands which make up a part of the island’s sub-tropical form. Flat-topped, these highlands form a pair of broad plateaux, the larger of which is home to the region’s main landing point. This sits within and open-air  café with tables sitting amidst a little sea of grass and flowers which are themselves constrained (for the most part) from flowing down over the cliffs in mimicry of the local waterfalls, by the presence of fences and shrubs.

A slender finger of rock extends out from one side of this plateau to point north and form one half of an arc of rock which cups a beach of golden sand within it steep-sided arms. The remaining half of this curve of rock is formed by the side of the second plateau. This is not quite as tall as the first, but is as equally flat-topped at its far end, allowing it to play host to an architecturally impressive, green-topped building offering views out over the sea on three sides.

Whilst they are connected by a knobbly, forested wrist of rock, the easiest means by which to pass from one plateau to the other is via a long rope bridge paralleling the cliffs as they march along the back of beach below. The café end of this bridge lay close to the one path leading down from the landing point. The latter turns by way mossy paths and wooden walkways to meander down from the café and along one side of a large pool of water fed from falls which also tumble from the rocks above, to reach a humpbacked bridge which allows the route to pass over a narrowed neck of the pool.

From here lay various paths of exploration passing around and through the island. These form tracks and trails of various kinds, winding their way under trees and rocky archways or over bridges and stone slabs are they cross streams and channels flowing through or cutting into the island’s lower reaches. to reaches various points of interest.

The latter range from the aforementioned beach, through a swampy bay to beach houses, cottages and huts which squat within the swamp, cling the the region’s costal areas or sit serenely in fenced grounds on hilltops. There’s also an open-air cinema (where a horse might be taken by those wishing to ride around the island rather than walk), a cave system cutting through the jumble of rock linking the two plateaux, multiple places to sit and spend time, dance machines, camp sites – and a lot more, all of which I will leave to you to discover and enjoy.

Also to be found scattered throughout the region are teleport points. These are generally in the form of standing stones holding living flames within them, although their look can change depending on where you are within the region (as is the case with the wishing well and cat teleport at the landing point). Theses are all networked, providing a quick means to jump between them and to areas of the region which cannot be reached directly on foot.

The latter take the form of a set of sky platforms, three of which  – at the time of my visit, at least – offer settings appropriate for the season. They are “Christmas”, “Winter” and “Winter Shop”. Both “Christmas” and “Winter” sit on that same sky platform, so presenting a contiguous landscape visitors can explore and which encompasses cottages blanketed by snow and with cosy, warm interiors, and a Christmas setting complete with two musical Santas, places to sit and even a miniature golf area with tiny winter themes.

The remaining winter setting is where visitors might find gifts left for them by Nika and Frie, and wander through another snowy landscape. A separate teleport from here provides access to gallery spaces and a little autumnal setting, whilst a further destination on the main teleport network directs visitors to the the rentals platform. Here, sitting with a very tropical setting, might be found beach houses of various sizes, some of which may be available for rent – just be aware that others may well be rented and thus off-limits to the meanderings of visitors.

There are a couple of rough patches awaiting visitors when exploring the ground-level islands, where physics need a little adjustment to present colliding with plants whilst trying to cross bridges or follow trails down into caves, but with a little careful navigation these can be bypassed. Outside of these, NANA Land offers a lot to see and appreciate, the use of sky platforms adding to the richness of exploration.

SLurl Details

• NANA Land (rated Moderate)

Occupying just under an eighth of a full region (which itself leverages the additional land capacity bonus available to private regions) sits Sakura Cranes, as attractive, Japanese / oriental themed setting created by Brian Ravenhurst, and which I recently visited by way of the Second Life Destination Guide. It is actually one of three parcels within the region Brian has designed, but will be the focus of this article – the other two can be reached via the raised walkway which wends its way through a part of Sakura Cranes.

The setting has – according to its About Land description – been inspired by the Takedera Temple, which I believe is a reference / alternate name for the Hôkoku-ji Temple (although the date given in the About Land description differs to that for Hôkoku-ji) – and additionally known as the Bamboo Temple, on account of its position deep within a bamboo garden. Like Hôkoku-ji, Sakura Cranes has its own bamboo feature – a curtain of tall trees which act as a curtain of green running west-to-east between the rocks and walls forming the north-south borders of the parcel.

South of this curtain and sitting high on the cliffs, sits an ancient pavilion guarded by two kitsune foxes as steps climb gracefully down along the instep of the long foot of rock extending northwards from the pavilion’s perch. Torii gates mark the stairway as reaches a raised wooden walkway set over mist-shrouded ground, the mist broken in several places by fingers of rock pointing to the sky. The bell towers of a shine sit either side of the walkway as it reaches another pavilion, this one set between the arms of the bamboo curtain, offering a view over a large body of water fed by dragon fountains and partially shaded by Sakura blossoms.

A second walkway winds through the bamboo trees, this one splitting so that one arm forms the connection to the neighbouring parcels, and the other to span – by way of a slightly off-centre bridge – the water and descend to the lowlands bordering the water on the far side. This northern half of the region presents a rich, calming garden. Gravel and cobble paths wind their way over the grass and down over the rocks and under the boughs of bamboo, Sakura and other trees as then pass between an assortment of buildings.

The garden is reached by another walkway and wooden steps descending from the bridge, a pair of open gates to one side provide access to a small market area, a further gateway providing the means to loop back along the path paralleling the fountain-fed waters, passing under the bridge as it does so.  At the far end of the this path is a shaded place in which to spend time, whilst mid-way along the path stepping-stones pass over the water to reach another place to pass the time playing a Chinese gu zheng within an open-sided pagoda rising from the rippling waters.

Mirroring the stepping stones crossing the water is a second set, these passing over the grass of the gardens to reach a teahouse where another gu zheng sits, together with the opportunity to enjoy some tea and appreciate the artist’s studio on the upper floor.

The tea-house is one of four structures within the low gardens, excluding the little market. Of the remaining three, one is a small shrine sitting next to the teahouse, around which a gravel path loops on its way north. The remaining two, located at the northern extreme of the setting and separated by another curtain of bamboo and a further body of water, are two rental homes. Both were available at the time of my visit, but this might not always be the case, so do please be careful about trespassing on people’s privacy. The waters between these two houses forms a home for a small boat, open to the public and offering another place to pass the time – possibly in contemplation of Buddha as he watches over the water.

With lanterns together with kites floating overhead, Japanese cranes dancing and nesting in or near the waters, and with enough paths winding through the landscape, Sakura Cranes offers a lot to appreciate within its comfortable, small space – and does so without ever feeling overcrowded for its size or in any way enclosed. In other words, it makes for a perfect and relaxing visit.

Recommended!

SLurl Details

• Sakura Cranes (Soundstation, rated Moderate)